5

FISCHER EDITION
The
CcclesfastM
Preludes -Interludes -Postludes
IN THE
Contrapuntal Style
(Imitation— CaMm~^ Fughetta)
For Pipe or Reed Organ
Compiled and Edited
by
CARLO ROSSINI
No. 8137— Volume One - $ 3 .00
No. 8176— Volume Two-
]. FISCHER & BRO. NEW YORK, N. Y.
119 WEST 40TH STREET
THE ECCLESIASTICAL ORGANIST-BOOK ONE
TABLE OF CONTENTS

PRELUDES- INTERLUDES-POSTLUDES

MAJOR TONES MINOR TONES

Pages Pages
DO mag-g:: C major: C dun 1-6 LA min.: A minor: A moll: 7-10

SOL mag-g:: Q major: ff dur: 11-16 MI min.: E minor: E moll: 17-20

RE mag-g:: D major: D dur: 21-26 SI min.i B minor: H moll: 27-30

LA mag-g:: A major: A dur: 31-36 min.i F# minor: Fis moll: 37-40

3f/ .: E major: J£ rfwr: 41-46 I D0% min.i C# minor: (7i* mo#: 47 - 50

FA ma^.i F major: -P dun 51-56 min.i D minor: /> mo/Z: 57-60

SI I mag%-.: Bb major: B dur: 61-66 SOL min.i G minor: B moll: 67-70

MI\> ma&g.i Eb major: Es dun 71-76 DO min.i C minor: C moll: 77-80

LA\> mag-g-.i At major: As dun 81-86 FA min.i F minor: -P moll: 87-90

•^ REl mag-g-.: Di> major: D*fi dun 91-94 mtn.: B!> minor: B moll: 95-98

PRELUDES AND POSTLUDES FOR PSALMODY - 99-106

 INDEX OF COMPOSERS
whose works appear in the present volume

BACH, J.CR. (1736-1782) JAHN A. (19th Cent.)

BARONCHELLI, N. (19th Cent.) KEWITSCH, K. (1834-1903)
BATTMANN, J. L. (1818-1886) KINBERGER, U. L. (19th Cent.)
BERNARDS, J. (1844-1929) KITTEL, J. C. (1732-1809)
BLIED, J. (1844-1884) KLONOWSKI, T. (19th Cent.)
BOTTAZZO, L. (1845-1924) KNECHT, J. H. (1752-1817)
BOTTIGLIERO, E. (1864- ) KOENEN, F. (1829-1887)
BREITENBACH, C. (1864- ) KOTHE, B. (1821-1897)
BROSIG, M. (1815-1887) MAURI, P. (1885- )
CAUDANA, F. (1878- ) MERKEL, G. A. (1827-1885)
CAMPODONICO, G. B. (1892- ) METTENLEITER, B. (1882-1901)
DEIGENDESCH, L. (19th Cent.) MITTERER, I. (1850-1924)
DIEBOLD, J. (1842-1929) MULLER, A. E. (1767-1817)
EBERLIN, J. E. (1702-1762) OBERHOFFER, H. (1824-1885)
ENGEL, D. H. (1816-1877) PAGELLA, G. (1872- )
ENGEL, V. (19th Cent.) PEARSALL, R.L. H795-1856)
ENGELHARDT, F. X. (19th C.) PIEL, P. (1835-1904)
ETT, C. (1788-1847) PLAG, J. (1863-1921)
FISCHER, M. G. (1773-1829) POLLERI, G. B. (1855-1923)
FUHRER, R. (1807-1861) REMBT, J. E. (1750-1810)
GEBHARDI, L. E. (1784-1862) RINCK, CH. H. (1770-1846)
GOTZE, H. (1836-1906) SCHWARZ, A. (19th Cent.)
GRASSI, C. (1868- ) SPATH, J. (17th Cent.)
GRATZ, J. (1760-1826) SQUAZZOTTI, L. (1887- )
GRUBER.J. (1855-1933) STOLZE, H. W. (1810-1868)
HANDEL, G. F. (1685-1759) SURZYNSKI, S. (1850- )
HASSE, K. (1883- ) TROPPMANN, J. A. (19th Cent.)
HAYDN, J. M, (1737-1806) VIERLING, J. G. (1750-1813)
HECKMAYR, A. (19th Cent.) VOLCKMAR, W. (1812-1887)
HAINZE, K. L. (1828-1905) VOGLER, G. J. (1749-1814)
HERMESDORFF, M. (1833-1885) VOGT, JAKOB (1810-1869)
HERZOG, J. G. (1822-1909) ZSASSKOVSZKY, A. (19th Cent.)
HESSE, A. F. (1809-1863) WALCZYNSKI, F. (1852- )
HEYER, E. (19th Cent.) WEDEMANN, W. (1805-1845)
HONIG, H. (1852- ) WILTBERGER, A. (1850-1928)

II
 PREFACE

The present collection of unassuming- compositions in the polyphonic or contrapuntal style represents
a step forward toward the ideal of "character, gravity and reserve in ecclesiastical org-an-playing-."
The chief elements in contrapuntal writing- are : 1) Imitation, by which one voice-part is made to re-
peat the motion and intervals of another part, either exactly or freely; 2) Canon, by which a second
and sometimes a third voice-part in close succession are made to repeat exactly (at the same or at a
different pitch) the melody of the first part; 3) Fuffhetta, or small fugnie (a more elaborate form of
counterpoint) by which one or more themes (subjects) are successively presented, orderly "answered"
and more or less "developed0 by strict or free counterpoint among- the voice-parts.
The following- considerations will help to appreciate this and similar collections:
The org~an in church is not an end to itself but only a means; in other words, the org-an has been
admitted in church not to rule, not to furnish entertainment or to attract the attention of the congrega-
tion upon the virtuosity of the or^aiiist, but only and exclusively to clothe with suitable harmonies the litur-
gical sing-ing- and to comment by inspiring" melodies upon the various moments of the liturgical action,
so that the faithful may be the more easily moved to piety, devotion, recollection and meditation. As
a distinguished author puts it: "The org-an is the harmonious hyphen which binds tog-ether the different
parts of the liturgical service and holds the attention of the worshipers." Ecclesiastical orgran-playing-,
therefore, not only should be artistic as reg-ards theoretical and technical standards, but it should also
express an idea, that is, it should possess character—a character of gravity and reserve that distin-
g^uishes church music from profane music. How many org-anis-ts ean"improvise"such music at the org*an?
Improvisation at the org-an is a great art, but, unfortunately, it is too often confused with the extem-
porizingr of a senseless hodg-epodg-e of chords, endless progressions, cheap modulations, snatches of
street-song-s and operatic airs, abrupt cadences, fing-er-board tricks and anything- that comes into the
head at the moment. All this can only serve to disturb the religious atmosphere of the church, to divert
the people's attention from the altar and lead their thoug-hts to places of amusement, thus making" the di-
vine service a curse instead of a blessing-. The art of improvising-requires a thorough theoretical and
practical training", a refined musical taste and a natural gift for invention. How many org-anists actually
possess such an equipment?
A simple, impersonal but dignified style of org-an-playing- oug-ht to be the aim of every org-anist who
understands the sublimity of his apostleship of edification and have a fair idea of what is beautiful and
appropriate in church. Hence the necessity for the averag-e org-anist of committing- himself to some ex-
ternal gniide, such as a reliable collection of Preludes, Interludes, Postludes, etc. composed by men of
ability and of reverence. A thorough study and a substantial assimilation of the works of these men is the
only way to acquire the style of liturgical org-an music. The org-anist should draw inspiration from these
works and vitalize them with the breath of his own musical soul, so that music in church may be broug-ht
closer to prayer for the benefit of the faithful.
As for the org-anist of superior ability who may be tempted to disreg-ard these simple forms of litur-
gical art, it is hardly necessary to remind him 1) that church music is not art for art's sake but art put
to the service of a hig-her purpose — consequently it is not a matter of "what we prefer to play" in
church, but "what is appropriate;" 2) that simple music may be "g-ood music" and worthy of the most sol-
emn church service; hence it is not at all essential that church music be grand, complex or superlatively
artistic —let him not disdain, therefore, to fashion his work in the forms that have proved serviceable in
artistic liturgical practice, even thoug-h they may appear simple and obvious to his musical taste; 3) that
the ordinary congregation is not an assembly of musicians but it consists of earnest, simple people whose
intellect and emotion may be reached only throug-h simple forms of art.
As a conclusion I wish to report here, for the benefit of the ordinary org-anist. the following^ very in-
structive reflection from B. Kothe's booklet "Music in the church" (Breslau 186l):
"The practice of memorizing- short and model org-an pieces is very advisable, for the musical memory,
like all our other faculties, needs constant exercise in order to develop its vigror; and once an org-anist
has stored up a considerable supply of such pieces in his memory, he will profit by them not only to the
extent of being- able to play and reproduce the same* as occasion may require, but he also will derive ad-
vantagre from them in various other ways. In fact, they will enrich his mind with new ideas and widen the
sweep of his imagination; and gradually, unconsciously he will absorb their style. He also will learn in
a practical way how Motifs* are employed and how liturgical compositions are constructed. These are
all advantag-es that will serve him in g-ood stead later on, when he undertakes improvisation of his own5/
Rev. Carlo Rossini
Organist and Choirmaster
of St. Paul's Cathedral, Pittsburgh, Pa.

J.F.AB.8157-106 ffl
 PRINCIPAL MUSICAL TERMS AND INDICATIONS
Tempo or Movement
Larg-o -Grave . . . ( M. M. J 40-so) = very slow.
Lento -Adagio. . . (J = 52 - &a) = slow.
Larg-hetto-Calmo. . (J = «o - es) : slow but moving*.
Andante ..... (J = 66 - 6 9 ) : with movement.
(Andantino . . . . ( \ * i 89 - 1 ,. ,., - , ., * ,'
72 ( - slightly faster than Andante.
(Andante mosso . . ( >
(J z 76 - 80 ) - sustained; majestic.
Sostenuto - Maestoso
Moderate ( J = 84 - 92 ) : moderately.
.....
I Allegretto .....(J = yg . / . cheerfully
(Allegro moderate . ( '
Mosso-Animato . . (J = 112- 120) - with animation.
Allegro -Deciso . .(J r 126- 138 ) - lively; decidedly.
(Allegro vivo . . . i j . m W>\- with cheerful animation.
(Allegro vivace . . \o ...... > (J = 176
184): quick.
Prestissimo . . . . (J r 192 208) : very quick.

Modifications of Tempo:
poco or un poco: a little-, molto: much-, meno: less-, piu: more-, poco piu: a little more-, poco meno:
a little less ; assai; very much-9 non troppo: not too much-9 rit. or ritard. (ritardando): slightly re-
tarding-, rail, or railent, (rallentando): gradually retarding", accel. (accelerando)": growing- faster, string:
(string'endo): pressing*; a tempo: resuming former time; poco a poco: gradually, sempre: always.

Indications and modifications of Dynamics:

pp (pianissimo): very soft-, p (piano): soft; mp (mezzo-piano): a little soft} mf (mezzo-forte): a little
loud', f (forte): loud-, ff (fortissimo): very loud-, sfz or rfs(sforzato or rinforzato): Sforxato Pedal
"ON",- cresc. or crescendo: increasing, strengthening the sound; dim. or dimin. (diminuendo): de-
creasing, softening the sound', morendo: dying away.
gradual opening of the Expression or Swell Pedal.
gradual closing of the Expression or Swell Pedal.
> A — marked accentuation of notes or chords.
Man.; Manual-, Ped.: Pedal-, (Ped.) or (Ped. ad lib.): optional use of the Pedal.

Other ordinary indications:

Alia breve, mean8 "half-time*9 Hence gk f ft P J | f f J J [ is equal to
~^f" I ~ 'I |
r J I r r £H Likewise fa% ft f J=g| is equal to fa$ -f p J^ : ifc
j L«J -^J I j j|J ! I ij
Q , pi r _. -. . Q ^ [ i .
J ' I J I j

Notes within the <(upward}9 bracket ([_) ar to be played by "right" hand.

Notes within thef'downward" bracket \) are to &£ played by "left" hand.

Important: Whenever a note that has been raised or lowered is "tied" over to the neat measure,
the alteration is IMPLICITLY carried over with the note:

IV
 Contrapuntal Preludes and Postludes1
Compiled and Edited by Carlo Rossini -Vol. I
Fed. The use of Pedal is optional.
\ Indicates the main Theme.
I The upward-bracket on the lower
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J.F.A B.8157-106
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J.F.4B.8i57-106
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La Maggiore - A dur
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65. Moderate alia breve J. Diebold

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Fed. <ft Man.
J.F.AB. 8157-106
 34
A MAJOR
73. Andante con moto J. A. T r o p p m a n n

.j j j

\. Andante
L.Bottazzo

J.F.AB. 8157 -106

 35
A MAJOR

^ r r-^r

75. Moderate Fr. Walczynski

J . F . A B . 8157-106
36
A MAJOR
76. Allegretto (Postlude) A. Jahn

J J3J J
^=±±
f^F

tw
J r rT r iW
j=a =E £

J.F.A B. 8157-106
 37
Fa# minore-Fis moll FJt MINOR
C. Breitenbach
77. Andante

Man.

C.H. Rinck
78.
** Moderate

f
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Fed.
f Man.

79. Moderate Yr.Walczynski

"Hbfe,. 1~3 J |J

J /I ^u
^

Man.

PeST
J.F.AB. 8157-106
38,
Fit MINOR
80. Andante mosso K. Deigendesch

Fr. Walczynski
81.

dt
rnf\. Moderate alia breve

Ch. H.Rinck

J.P.&B.8I57 -106
 *s
\
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1
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J:
: , » -

\ /"S —
fl 1
(1
i._ <i.
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: -J
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j j:

^ 1 k I I J
k..
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^
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(
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40
Ffl MINOR
Ch.H. Rinck ~
84. Moderate (Postlude)
i

* Man.
f

J.F. A B.8157-108
 41
Mi Maggiore - E dur
E MAJOR
N. Baronchelli
Moderate

Man. Fed.

86. Andante alia breve B. Kothe

*,

mf
r f—

Man 1

87. Moderate Fr.Walczynski

88. Andante J. A. Troppmann

J.F.4B.8157-106
42
E MAJOR
.1. Blied

Man. Fed.

90. Sostenuto W. Volckmar

Man.

Fed

P. Mauri
91. Andante alia breve

Fed?"

nn
? o
i
o e

M e
H

J.P.A B. 8157-108
 43
E MAJOR

92. Andante mosso L.E. Gebhardi

i
^, "i i

, 0 it Hi* . •" —h -^,4 . J,^rrJ— j.

/ fk
V£l T*
^ «*;
>^—1 j —j—
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,
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, h^
j_ *^—-—
\^^\^ \—
&«
^ —^
zi^:
•

mf
-^

r r • ^—p.
li rTT- a

k=f=M
Fed.
'i r=
,—'

0 ttJ*"7T-^ J—, i ^>i 7 r —T^ i .—i i^^l ]pr

//kT*
-<p 4 i-
—i— f—^s
— t=\\-4.
_p
r faj ^4-— -
r r r
<ift^-W ^J--bJ-4
—H^— —6J b-—
j J *=*
^ rr 1 ^
P
^^^^^_

••:
ti Ji J"^T- u- j ^>
•**flAj « i»— __ p _
^ _d]
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bJ— ^
^Ji
u__«
J
k,^

93. Mosso A. Schwarz

/ijfe tfA ^ ^ | 1—-—i—-—1 1 i j-^j—i \ j~i 7^1
-*"
r r
1 L

r r T r f r L|s-L Ll^\6
w^f
***
^
—-— —•—
«^M«M«

a^a >
44
E iMAJOR
Allegro moderate) P.Mauri

J-i- ± j^s 3
£ T fr
Man r
iH T
*ii fc i
Man
^

Fed

Ch.H. Rinck
95. Moderate

Man.

PE &
mp \-
/

Fed.,

B. 8157-106
 45
E MAJOR

96. Andante ..^^iMMFii^n

jf^ }tjjf.g._71 .m m
1 _*
J J 1 Jp=4qhi
«l ^ J J «t
r
*'-|
** W 1

(o tt c * T' r
mf

*M
_"Z— ft 9 *J ' J -
mJ J
j. j.j j
•
\^^—*

m
—

—
J"J J.T
m

J.F.dB. 8167-106
46
E MAJOR
J. Bernards
97. Allegro moderato (Postlud* }

•~f r
m

J.F. A B. 8157-106
 47
Do$ minore - Cis moll C|t MINOR

J. Blied
Andante

i ^
iI
Man. p^£ £^EP ^T
Fed.

H. Gotze
>9. Moderate

0
i/ r
P
100. Allegro A. Schwarz

PedT
101. Andante J. Pachelbel- J.S.Bach

Man.

J.F.AB. 8157-106
48
Cfl MINOR
102. Maestoso Fr. Walczynski

S. Surzyrski

*^^
103. Moderato

Fed

104. Mosso P. Mauri

Man.
J.F.&B. 8157-106
 V ^:
f* kk
w -**
^a
00 kk
5!
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"V A*
u.
X
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\

"1» § '-
"14 I
2M "
\, ic// -« t
"1* ' -..
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t?p
,u s
ittt1* L,i
rI" k.
fc- <L 1

| i'; v»

( \^ .. s-^> 1..
ft •
1.
(\. I..
O
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<L

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1.- u.
{\
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""I U.
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<M-
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50
Cfl MINOR
Fr. Walczynski
106. Maestoso (Postlude)

J.F.dB. 8157-106
 51
Fa Maggiore-Fdur
F MAJOR
A. Hesse
107. Moderate

mf

Man Ped

108. Andante C. Ett

10 9. Mo derate C. Ett
iJ
mf

r tpr
o

&" r j ^^^— __"" — wv.

«¥;
51 " H *
r
Man. Fed.

110. Andante mosso . Kothe

J.F.AB. 8157-106
52
F MAJOR
B.Mettenleiter
111. Andantino
j\ j
__ K

(Fed.)

112. Andante P. Piel

113. Moderate C. Ett

»feE
I

^•^- j^,n jp- ^VJT^T]

»J^

^FP?

J.F.4B, 8157-106
 53
P MAJOR
W. Volckmar
114. Andante mosso

/%

±=±
Tf

r
n
TJ-
Fed.

115. Allegretto J. Blied

Man.

J.F. A B. 8157-106
54
F MAJOR J.G. Herzog
116. Allegretto

Fed.

117. Allegretto Fr.Walczynski

Fed.
J.F.AB.8157-106
 55
P MAJOR

I tempo
i^ J£^E

3EE i
pg^IIrr r^

11 8. Sostenuto Ch. H. Rinck

J.F.4B.8157-103
56
P MAJOR
Ch.H.Rinck
119- Allegretto (Postlude)

J^M^T

J.R*B. 8157-106
 Re minore-D moll 57
D MINOR
J. Eberlin
120. Andante

Man.
0. Ett
121. Andante

J.F.4B. 8157-i06
58
D MINOR
124. Andante L. Bottazzo

m T- t±±
* r r
Man.
r

125. Andante B. Kothe

*=9
*=*
nip

Man.
i 1
Fed.
i

E. Bottigliero
126. Andantino
 59
D MINOR

127. Mosso moderato

rfe^
;j r r B^

I P V<

T
I
^
Ped Man.

PedT
J.F.AB.8157 -106
60
D MINOR
Ch.H. Rinck
128. Mosso moderato (Postlude)

*=^ E± ^
r r r ^

Fed.

J.F.AB. 8157-106
 61
Sib Maggiore - B dur B\> MAJOR

Fr. Koenen
129. Andante mosso

Man.

130. Moderato J.Vogler

Man

J. Blied
131. Andante con motto

Fed.
132. Moderate Fr. Walczynski

Fed
J.F.dB. 8157-106
62
Bt> MAJOR M.Hermesdorff
133. Andante
^ j^^
BE
V/.A-L 1 ' tZ£
^¥T^ p -^p

B. Kothe
134. Larghetto

135. Andante J.Vogler

Fed.
J.F.AB. 8157-106
 I
B\> MAJOR
63
136. Moderate
Fr.Walczynski

Fed Man.

Ped Fed.

137. Allegretto W. Volckmar

p
Man. i-
r rJ-T r^r T

J.F.AB. 8157-106
 MAJOR
A. Zsasskovszky
138. Sostenuto alia breve

nif r.A.
f= f r
—m

-r r
<^

% 1! . U—5* Q
. <d
_—
-M^? *^^
_j J J
\\SV 2 " £—\ g
1
If 1 r r
!^ , 1
!kP'
M ', -^
0
- —p—
., ^ K J

139. Larghetto M. G. Fischer

J.P.4B.8I57-106
 ,
Bb MAJOR
65

140.

it* m
Allegretto
^
m ^
Fr.Walczynski
> A
P-
*——

ManT

Fed.
J.F.4B.8157-106
66
Bl> MAJOR
J. Gruber
141. Mosso moderate (Postlude)

^r r- F ^T

J.F.A B. 8157-106
 67
Sol minore - G moll G MINOR
J. Eberlin
142. Moderate
dt n i
rii.
//A.

Man.

143. Moderate G. F. Handel

Ped.& Man.

B. Mettenleiter

J.F.4 B. 8157-106
68
6 MINOR
146. Andante Ch.H.Rinck
r-O-HT-CT
1 j J r-^ ^v—|F^=J —j — r— p4= —jl|

-r~f- —r- 4=
1—s—J i
E

-»- mp T^1• tfr r

/.A! r 1
-j
-0P

,. ~r^n^3 1 fl i 0
?=5^
I r T i—f—'
_m
1 —L »^.
—* ^

f=»r=

Fed. Man. Fed.

147. Sostenuto Fr. Walczynski

Fed.

148. Moderate alia breve P. Mauri

Man.

P ^ a
r
J.F.4B. 8157-108
 69
G MINOR

? 3=i jjn
^^ i=iii
Fed.

149. Allegretto T. Klonowski

(p —H

mf

77^
=
•
jj j
"Or r r jvjf rJ!iL^ r r r_rjr
i ^ iiJ^^la ^TJ-J j 77r-J —fle—2_
^-e -=
^

I r f
a
a tempo

*
Man.

J.F.4B. 8157-106
70
GMINOR
F. E.Rembt
150. Maestoso alia breve (Postlude)

*E 3 r , r-—-
Lr

Fed.

Fed.
J.F.4B. 8157-106
 71
Mib Maggiore - Es dur
Eb MAJOR

151. Andante L. Pearsall

Ll>.,. j IJ J
» b ^ -f ==*

Man Fed/

152. Andante B. Kothe

ManT Fed.

154. Mosso moderate Fn Walczynski

Fed.
J . F . A B . 8157-106
72
Eb BMAJOR
H. Oberhoffer
155. M o d e r a t e alia breve

Man.

Fed.

P. Mauri
156. Moderato alia breve

Man.

SEE
^T ^
^ a
* r
£ PedT (-e-^

G. B. Campodonico
157. Andante

r r- np *

^
Man. ^s

J.F.A B. 8157-106
 73
Ei? MAJOR
158. Mosso moderate R. Fiihrer

Man

^=^
^ -or
f=p
VT r i'^ ¥i^ i 1
PedT
M
r r * r-p f
rail.
J^t^l J
? H

J.S. Bach
159. Sostenuto

Fed.

J.F.4 P. 8157-106

r_
 MAJOR
J.A. lann
16O. Allegro moderato

J iiJ J J

r
Ped TV
161. Allegro M. Brosig

J.P.4B. 8157-106
 75
E!> MAJOR

162. Maestoso

,f.r.dB.8i57-icrs
76
Eh MAJOR
Fr. Walczynski
163. Allegro (Postlude)

\ c,

f^nT'1 r r Man.

Man. Fed.
J.P.4 B. 8157-106
 Do minore - C moll 77
C MINOR
164. Andante alia breve R. Fiihrer

Man. Fed.

165. Moderate alia breve P. Mauri

Man.

166. _Andante Fr.Walczynski

Fed.
J.F.AB. 8157-106
78
C MINOR
C. Grassi
168. Mosso

Man

r 3 3
msf rt/,

Ped.
^
169. Andantino Fr. Walczynski

Man.

170. Moderate

Fed. & Man.

J.P.4B.8157-106
 79
C MINOR

Fed.] f r r f <>F. r f-

171. Maestoso L. E.Gebhardi

Fed.

J.F.4B. 8157-106
 \ ?• >•
^ >•> '•:
5 e^| ?•: S 10
T y• f "_ f~

X
ji
h* \r
en ^ . _
i |_ ^i <1_
?,- i
"i O
1 y (^
""i O
~~c ^ 1-.
>»' - h . _
/

i
1
(\f i\i r1 y/ -• \ /-
"M 2— i < ...
i) ":i
i
-i
/

<
"i
•:i
V" 1
.1K ' / Vi "^ 4
> (p |
\'~-\ ^
i U ~~l| U
\n i KK'

n
1> "~H "7 1..
11 '

""I i- ~m U
i-^^l^
\_
;; /
t ^ L. "~l v > (i
f" If- "^
y
•• « <*
:a o

1-.or
,zV a-
\f Vi ( "i i- -<• I.. <L

f " >• * ^S T—:

1 \
•' i
i 1
ff-
..- i
I CTQ
f I
 Lat Maggiore-As dur 81
A!> MAJOR

173. Andante Fr. Walczynski

Fed.
174. Andante H. Gbetze

Fed.

175. Andantino A.Wiltberger

Fed.
B. Kothe
176. Larghetto

Fed.
J.F.AB.8157-106
82
AMIAJOR
H.Honig
177. Andante rr —
—;
j^ T j1 i _n
—.
i jt \W rr J <l y* + 1 J JO-IJI
J p
1
Kl» p, * h* [J..J'OJ1l
> r . * J •-.*,.•- li|g 9. km
rW^ V \J -^.
i)
mn
P
•mr
*/I\_ 7
\^X" TT^^
1 fci* - \. ^
M^ ^ b Pi
^lu
*•
^ ^ 1 M r V
s. r

Man.
U

Fed.

178. Moderate B. Kothe

?~r r.h.
np
Lh.
\
m
ManT
i

J.F.AB.8157-108
 83
At> MAJOR
P. Mauri
179. Allegretto

Man. Fed.
Fed.

Fr. Walczynski
180. Maestoso

J.F.dB. 8157-106
84
A\> MAJOR
P. Piel
181. Allegro

V. Engel
182. Andante
\. t> ,» ^
77ZJP
f.fr/
i
4
i

Fed.
I.F.AB. 8157-106
 85
A!> MAJOR

Man

^F
nn
Srw
j^=^
Fed.

183. Andante mosso F. X. Engelhardt

f I.F.AB. 8157-106
Al> MAJOR
G. Vogt
184. Allegretto (Postlude)

J.F.4B. 8157-106
 Fa minore - F moll 87
F MINOR

B. Kothe
185. Andante

Man. Fed.

186. Andante G. F. Handel

grirr ^
188. Andante mosso L. Heinze

J.P.4 B. 8157^106
88
F MINOR
Fr.Walczynski
189. Sostenuto alia breve

Fed.
P. Mauri
190. Moderate alia breve

Man. Fed.

Ped.& Man.
191. Sostenuto alia breve Ch.H.Binck
3
t
mf

m j.
Man. Fed.

J.F. A B. 8157-106
 P MINOR

Fed.

nif

^ti
Man.
f±£
192. Andante J. Blied

Man. Fed.

Fed.
J.F.AB. 8157-106
90
P MINOR J. A. Troppmann
193. Maestoso (Postlude)

I.F. A B. 8157-106
 Rel> Maggiore-Des dur 91
Dt> MAJOR

194. Andante A.Wiltberger

^ »|"JN
TT
-M —J J
s r
Fed.
^ H. Knecht
195. Andante

Fed.
196. Allegretto H.W. Stolze

^m \.
K. Deigendesch
197. Andantino
j=i
*^^-<^™1™*"*"^*

Man. Fed.

J.F.dB. 8157-10.6
92
Dt> MAJOR
L. Battmann
198. Moderate

PedT
R Mauri
199. Andante mosso

200. Allegretto Fr.Walczynski

^
»if C^
f-r 0

J Jl
i.
^

fallargando
te^
Maa< PedT
J.F.AB. 8157-106
 93
D{> MAJOR
201. Moderate Fr.Walczynski

Man
f

202. Andante G.Merkel

Man.
J.F.A B. 8157 -106
94
V\> MAJOR

m fr, k ^

r rrj JT
i rr
r//.

203. Maestoso (Postlude) U. L. Kirnberger

Fed.
J.F.AB. 8157-106
 Si!> minore - B moll 95
B\> MINOR

L.Sguazzotti
204. Moderate

Man

205. Allegretto L.S

206. Andante L.S.

Man.

J. H. Knecht
207 Moderate

Peel:
J.F.A B. 8157-106
96
B\> MINOR
J208. Larghetto alia breve Ch.H. Rinck

209. Sostenuto Fr. Walczynski

210. Andante mosso S. Surzynski

Man.
J.F.AB.8157-106
 97
B[» MINOR

r f=
J^

^ * i> r r r-jp
211. Andante J. A. Troppmann

Man
Fed.

^ .S S
£= F^ f=

3E^^
Ped.
^ T= ^
^

J.F.4B. 8157-106
98
Bt> MINOR
Ch.H.Rinck
212. Maestoso (Postlude)

Man Fed.

Man.

J.F.AB.8157-106
 99
PRELUDES AND POSTLUDES FOR PSALMODY

...dextris me - is. ...dextris me - is.

- xit
Di-xi D8minusD6-mi-no me - o:* Sede a dexfris me - is
f

G. Pagella
213.MOSSO

215. Mosso moderate

Fed.

. 8157-106

Public Library
100
TONE II
(Transposed)
Di - xit Dominus Domino. me o:* Sede a dex-tris me
1

216. Andante G. Pagella

Man.

217. Mosso G.P.

Fed.

218. Larghetto F. Caudana

Fed.
J.F.dB. 8157-106
 101
TONE III
(.Transposed)
Di-xit DominusDo-mi-no me - o:* Sede a dex-tris me - is. dex-tris me - is. ...dex - tris me - is.

Tone
III

219. Larghetto alia breve G. Pagella

220. Sostenuto alia breve

Man. Fed.

221. Andante alia breve F. Gaud ana

"^ a <* ri i
5 2 «•» ==

Fed.
^
222. Moderate G. Pagella

Fed.& Man.

223. Andante G.P.

Man
J.F.A B. 8157-106
102
TONE IV
Di - xit Dominus Do-mi-no me - O:* Sede a dex-tris me- is. ...a dex-tris m e - i s . ...dex-tris m

Tone
IV

224.Mosso G.Pagella

Fed

226. Andante
F. Caudana

J.F.& B.8157-106
 103
TONEV
(Transposed)
Di - xit Dominus Domino o:* Sede a dex - tris me

227. Andante G.Pagella

i
-*T?T

228. Mosso

Man.

229. Andante alia breve G.P.

Fed.
230. Maestoso alia breve F. Caudana

mf 8

Fed. ^¥
^

Fed.* Man.
J-F. A B 8157-106
104
TONE VI
or:
Di-xit Dominus Do-mi-no m e - o: Do-mi - no me - Sedea d e x - t r i s me - is.
i T

231. Mosso 0. Pagella

Man. Fed.

m
232. Andante C.Ett
J

f IJF

Man.

F. Caudana
233.Moderato alia breve.

J.P.AB. 8157-106
 105
TONE VII
(Transposed)
Di-xit DominusDomkio me - o:* Sede a dex - tris me - is. ...dex-tris me - is. ..dex-tris me -is.

J3M WJUJJ % ,f

Tone
VII

234. Moderate
*L. " r

^
«
r*
y«L Js:
£«E
Y

G. Pagella

Man.
235. Andante
F. Caudana

J.F.4B.8157-106
106
TONE VIII
Di-xit Dominus Domino me - o.-* Sede a dex-tris me - is. ...dex-tris me - is. ...dex-tris me - is.
f L ?

Tone
VIII

Man.

238. Sostenuto alia breve

Fed.

239. Moderate F. Caudana

' mf

Man
LLrr LT

Man. Fed.
Fed. Man.
J.F.4B. 8157-106 913-2-624